however, i was very cognizant of a style, beauty and poetry, let's say, in john ford. if you had asked me what john ford did i couldn't tell you he put the camera a certain way and he used a red filter in black-and-white films to make the clouds come out. and he shot it a certain way so that the dust came up and it was an incredible, an incredible, terrible beauty. what device do i want to use to be able to get this idea and this emotion across? wherever i can get it, get the inspiration, fine. i try to find the best device, even if it's a simple device of holding the camera static with an actor moving across and not moving and not cutting. that's the danger. you want to say, "well, it may be too arty. this is too much. this is overdoing it. this is overkill. this is too subtle." now what do you do? we have to go in tighter maybe. and so i'm aware of that. it's a constant battle. (narrator) william wyler is established in the hollywood pantheon. his style was elegant and unassuming, with the perfect relationship between actor, decor, camera. (martin scorsese) wyler had